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In a purely documentary style of shooting we need to have some tools which are not yet well implemented.  Everyone needs to be aware of this. Here is an example of present limitation.

If you put an Si 2K Digital 3D camera set up on your shoulder or SteadiCam and use it like in Cinema Verity style of shooting, there are only limited tools available to quickly move from a wide shot into an extreme close up of say an object or human face on a mobile camera. Lens convergence by “toeing in” or angling the aiming position of the lenses is used as a substitute for more sophisticated and far superior method of parallel lens shift convergence. These are complicated terms but the essence is there are inferior quick fix solutions presently on the market and no mass produced technologies to do comfortable close ups  the best and proper way.

3D IMAX and D-Cinema 3D have different aspect ratios, D-Cinema 1.78 and Imax 1.33. In order to capture both formats in one camera the default Aspect ratio "should" be 1.33 so that in post you have vertical frame adjustment for D-Cinema.  

There are presently at least 4 Imax Movies using Si 2K 3D as second camera application. The same holds true for S-35 mm full aperture 3D systems. The specific applications are size / scale driven.

The primary rule to properly re-purpose to for Imax is to utilize the full IMAX negative for large volume wide establishing shots and use the smaller formats as the camera moves closer to the finer details of the subject. The larger scale of  IMAX image holds the details in vistas and  S 35 mm format medium shots and 2K Digital capture can work closely and  quickly in close ups and action shots.